Gouache on paper

24” x 20”

Late 1933

Gouache on paper

24” x 20”

Late 1933

Self-portrait

Oil on canvas

25” x 30”

1934

He said of the painting, “It’s allegorical of a certain experience I had. My devils and me!”

Oil on canvas

13 1/2” x 13 1/2”

1933-34

Oil on canvas

16” x 24”

1934

Oil on canvas

14” x 14”

1933-34

Charcoal on paper

19" x 9"

Mid 1930's

Charcoal on paper

19" x 9"

Mid 1930's

Block print on cork, colour added by hand

Dimensions unknown

Mid 1930’s

Probably gouache on paper

Dimensions unknown

Mid 1930’s

A street scene from Port of Spain

Oil on canvas

19.75” x 15.75”

Mid 1930's

Oil on canvas

16” x 28.5"

Mid-to-late 1930’s

Gouache on paper

Dimensions unknown

Mid-1930’s

Oil on canvas

Late 1930's probably 1939

Dimensions unknown

One of many versions of an Indian woman with a nose stud

Gouache on board

Dimensions unknown

1938

Gouache on board

Dimensions unknown

1939

Gouache on paper

20" x 30"

1938

Probably gouache on paper

Dimensions unknown

1938

Probably oil on canvas

Dimensions unknown

Late 1930’s

Gouache on paper

Dimensions unknown

1939

Oil on canvas

18.5” x 24”

Late 1930’s

Probably oil on canvas

Dimensions unknown

Late 1930’s

Gouache on paper

Dimensions unknown

1939

Gouache on coloured paper

24.5” x 35.5”

1939

Gouache on coloured paper

22” x 15”

1939

Gouache on brown paper

22” x 13”

1939

Charcoal on paper

Dimensions unknown

Late 1930’s

Charcoal drawing on paper

Dimensions unknown

Late 1930’s

Oil on board

10" x 13.5"

Late 1930’s, probably 1939

Oil on board

10" x 13.5"

Late 1930's, probably 1939

Gouache on paper

11” x 15”

This could be the late 1930’s judging from the signature or the early 1950’s or early 1960’s judged from the style.

Oil on canvas

23” x 28.5"

Early 1940's

Oil on canvas

Dimensions unknown

1940

Oil on board

11” x 15"

1940

Gouache on paper

18.5” x 23.5”

Early 1940's

This is an elegant and later version of one of the principal figures in Sly Mongoose, which was done in the mid-1930s.

Probably painted in 1943 and 1944.

“4th movement: ballet interlude, balance of Mister Bad across the door leading to the toilet! Just a pause a breathing space for “charm” and pleasant reflections spiced with humorous annotations this spirit, as ancient as any, is the one which makes me the youngest of my family, Ma’s last born the pet forgiven every sin before hand. Up to all of Mr. Bad’s bad tricks, his innocence is invulnerable and he gets away with murder, smiling that incipient almost ‘giaconda’ smile which comes from a certain omniscience and accepts knowledge of the wicked joke of it all—of its emptiness.”

Hugh lived at Commerce Street in Greenwich Village from 1943 to 1946. The murals were probably painted in 1943 and 1944.

Notes on the photos: “This gives an idea of the sequence, and as well conveys the corner, a better idea of the space than flat photos. Here I have hung for the moment the large oil of the washerwomen over the door. It was not finished then. I suppose it isn’t now but I don’t care to touch it any more. It is alright not an effort to be ashamed of but I can do much better than that if only I could become sane and quite in mind and especially full of confidence. It is shocking at my time of life to always feel as much a novice at it as a school girl. Ridiculous!

This mocking Satyr is a “salient feature” of the personality of one Jean de B., a thing I have thought also a “salient feature” one, of the universe. As the third movement it enlarges the theme in certain particular aspects. The pastorale is charming and engaging enough but evil after all is not only inevitable also very ”salient” and without which no animation is possible. The thorn in the side, the itch in the night but who would live in the country forever. I like him not but follow him, envy him, hate him. Long to be bad!”

Probably oil on canvas

Dimensions unknown

Probably 1940

Probably 1943 and 1944.

Oil on canvas

18" x 22"

Circa 1943-45

On the back of a photo of it, he says "Abstract version of the washerwomen. I call it Concerto for 2 Washerwomen! the composition is very restless, the colours rich and sonorous" It is the smallest of the three.

Oil on canvas

Approx. 4’ h

Circa 1943-45

Notes from back of photo: “This is a composition of washerwomen, a theme which (as almost all of them do) was suggested to me diverse ideas for visual music. This is the large one in oils and is the most ‘actualistic’. I like the smallest best there are three. P.S. I owe a deep debt of gratitude to tropical vegetation. I don’t know, I do not believe I could ever get the same pleasured satisfaction to suit my taste out of anything else.”

Likely gouache on paper

Dimensions unknown

Circa 1943-45

Oil on canvas

27.5" x 33.5"

1943

Likely gouache on paper

Dimensions unknown

Circa 1943

Oil on canvas

50" x 60"

Circa 1943

The largest painting of this group of three, the steel gray figures and the limited pallet may indicate that is later than the other two even the late 40’s

Oil on canvas

41" x 51"

Circa 1943-45

Notes from the back of a photo: “the cocoa symphony! Large quite nice, but not up to expectations “what a contraption” “she” has for a head ! looks like patchwork quilt, something doesn’t it? –what with bits of old pyjamas, shirtings etc!” This was probably written to his mother which may explain these comments as such a modern work would be unlikely to find favour with her and he is anticipating her reaction.

Hugh lived at Commerce Street in Greenwich Village from 1943 to 1946. The murals were probably painted in 1943 and 1944.

Notes on the photos: “This gives an idea of the sequence, and as well conveys the corner, a better idea of the space than flat photos. Here I have hung for the moment the large oil of the washerwomen over the door. It was not finished then. I suppose it isn’t now but I don’t care to touch it any more. It is alright not an effort to be ashamed of but I can do much better than that if only I could become sane and quite in mind and especially full of confidence. It is shocking at my time of life to always feel as much a novice at it as a school girl. Ridiculous!

This mocking Satyr is a “salient feature” of the personality of one Jean de B., a thing I have thought also a “salient feature” one, of the universe. As the third movement it enlarges the theme in certain particular aspects. The pastorale is charming and engaging enough but evil after all is not only inevitable also very ”salient” and without which no animation is possible. The thorn in the side, the itch in the night but who would live in the country forever. I like him not but follow him, envy him, hate him. Long to be bad!”

Musicians

Oil on canvas

43" x 37"

Mid 1940's

Oil on canvas mounted on card board

18" x 22.5"

Mid 1940's

Gouache on paper

14.5" x 17.5"

1946

In a note to his sister, he said of the painting, “Reaping cocoa- if you can believe it. An old one, about the last I did at Commerce street.”

Oil on canvas

36" x 42"

1946

This is a more abstract version of Reaping Cocoa so this title seems strange, but both paintings have possible sugar cane references.

Oil on canvas

Dimensions unknown

Mid-1940’s

Oil on canvas

Dimensions unknown

Mid-1940’s

Oil on canvas

Dimensions unknown

Mid-to-late 1940’s

Oil on canvas

Dimensions unknown, 5’ x 4’ approximately

Mid-1940's

Hugh has written on the back of a photo: “What a thing! I call it Reunion in the Flowering Wilderness! oil, very large. What a joke! I have it rolled up and hidden under the bath because I don’t like it at all!! (the symphony in Minor Madness!)

The painting is largely an assembly of quotations and reworking of images from earlier paintings.

Oil on canvas

Dimensions unknown

Mid-1940’s

Oil on canvas

41.5” x 35.5”

1945

Oil on canvas

28” x 24”

1948

There are three versions of this painting each one progressively more abstract.

Oil on canvas

Dimensions unknown

1948

Oil on canvas

28 x 36 inches

1947

Unsigned undated

On the back of a photo of this, he says “Done about 1947—and typical of the kind of fate that has been mine! (this is meant to be a Laocoon.)” In 1978- 79 he refers to this as ‘Men with Snakes’ and says it was one of his best he also set about restoring it but its present location is unknown. There is a ‘carnival’ quality to this painting, this is dancing with snakes not being entrapped by them.

Oil on canvas

36” x 37.5"

1947

Oil on canvas

48" x 42"

1946-48

Oil on canvas

Dimensions unknown

Late 1940’s

Likely gouache on paper

Dimensions unknown

Late 40’s

May be the painting of a horse he sold from his show in Trinidad in April/May 1960.

Oil on canvas

Dimensions unknown

1949

The male figure is a figure based on Arthur.

Oil on canvas

Dimensions unknown

1949

Hugh wrote on the back of a photo “View from the house Dad never built on Coconut Hill! All the figures in most of my paintings are in grey’s. Backgrounds are more or less brilliant colour”. ( Coconut Hill was behind the house at Mon Valmont) This is the same view depicted in the previous painting. The male figure is again based on Arthur.

Oil on canvas

Dimensions unknown

c. 1949

Unsigned, undated, known only through B&W photo.

In his letters, he mentions visiting prostitutes in the 1930s in Port of Spain with a friend (Hugh talked but had no interest in sex) A recollection of those times? Reference to Manet’s version of Olympia, Goya’s Maja Desnuda?

Gouache on paper

16" x 28"

Late 1940's early 1950's

There are three versions one of which Hu calls Diabolique.

Oil on canvas

36" x 42"

Late 1940s

Oil on canvas

18" x 16"

1949

Oil on leather with some repoussé

19.5” x 15.5”

Early 1950’s

Collage, gouache on wallpaper on canvas mounted on masonite

14” x 18”

Early 1950’s

Oil and wallpaper collage on canvas

17.5" x 13.75"

Likely early 1950’s

The wallpaper may be one of his designs from the 1940s.

Oil on canvas

24" x 18"

1950

In this painting the wallpaper designs are painted rather than collage

Oil on canvas

24" x 18"

1950

Oil on canvas

16" x 20"

Early 1950’s

Oil on canvas

16” x 20”

1950

Oil on leather

24" x 16"

It is most likely from the early 1950’s perhaps as early as 1950

He did a number of paintings on leather, which are undated. He may have done them after Daphne visited in 1953 or 1954, or that visit may have simply got him interested in the sculptural properties of leather.

Gouache on paper

17” x 11.5”

1951

There is another version of this circa 1960-1961.

Gouache on paper

12” x 18.5"

Circa 1952

Gouache on paper

11” x 15”

This could be the late 1930’s judging from the signature or the early 1950’s or early 1960’s judged from the style.

Oil on canvas

19.5" x 15.5"

1950

Gouache on cardboard

14” x 17"

Early 1950’s

Oil on canvas

28” x 33.5"

Circa 1954

Gouache on paper

12.25” x 15.5"

Circa 1955

Gouache on paper

16.5” x 12"

1955 or before

One of the works submitted to the Alcoa exhibition in Trinidad in 1955.

Gouache on paper

17” x 12”

1955

Gouache on paper

15" x 20.5"

1955

Gouache on paper

4.5” x 5.5"

Mid-1950’s

Gouache on paper

6” x 8"

Mid-1950’s

Gouache on grey paper

6” x 8"

Mid-1950’s

Gouache on cork

5.25” x 6.5”

Circa 1955

Gouache on card board

8” x 10”

Mid 1950’s

A version of this is the backdrop for one of his self-portraits. On back to Daphne “please send this one back – it is the original and in 2 other versions I altered things which I’now not sure I don’t like, and want to restore some of them in a third version.“

Gouache on leather

6.25” x 5"

Probably 1957

A version of this is forms the background for two self-portraits from that year.

Oil on canvas

Dimensions unknown

A gouache version was done in March 1955, this most likely was done after that.

Oil on canvas

Dimensions unknown

1955

Oil on masonite

16" x 20"

February 1957

Gouache on paper

7.5” x 6.2"

1956

Oil on plywood

16" x 12"

Probably 1956 when he had a beard.

Oil on canvas

Winter 1956. Probably 1956 when the other self-portrait with beard was painted.

Also mentioned in a letter of Jan. 7, 1978 ”self-portrait with beard was done with lovely pure, even white light coming through a picture window from a pure thick snow on the ground outside.” (at Trinidale) His painting Tristan & Isolde forms the background.

Gouache on paper

8" x 10"

1956

On back - A Happy Christmas 1957 Hugh. However, it must, in fact, be 1956 since he mentions the card in a letter of Feb. 5, 1957.

Oil on board

17” x 14"

1957

Gouache on paper

8" x 10"

1957 (?)

Gouache on paper

10” x 7.75“

1957

Oil on plywood

16" x 13.5"

1957

Oil on plywood

16" x 12.5"

1957

Gouache on paper

4.4” x 5.5”

1955-58

Oil on canvas

22.75" x 26.75"

1958

Signed Hu '60, but there is a picture of the painting from 1958.

Gouache on cork

5 1/8” x 6 3/8"

Circa 1958

Oil on canvas

12.5" x 15.5"

Perhaps 1958 after he shaved his Moustache?

Oil on canvas

1958

It is mentioned in letters from the spring of 1958 and may have been sold to a Dr. Wills in San Fernando in 1959. He mentions these flaming Sunflowers in a letter to John Pearce and Iona Swift from Oct 5, 1961.

Oil on canvas

25" x 36"

1958

It was complete in about mid-November of 1958 and was submitted to a show at the Whitney in early Feb. 1959.

Oil on canvas

25" x 34"

1958

Oil on canvas

20” x 24"

1959

Oil on canvas

1958

Submitted to unknown artists show at the Whitney in February 1959.

Oil on canvas

1959

Bought by Senator Marguerite Wyke from Hugh’s show in the fall of 1959. It is in the background of a photo of her and her husband in an article on her that appeared in Ebony in June of 1960. It is also mentioned in a letter (to Daphne) of May 6, 1959.

Oil on canvas

26" x 38"

1958 or 1959

Oil on canvas

28" x 34"

1958

Second of two, possibly three versions, it is signed Hu '72, however, this date was added for the first Duncan Gallery show, on the back is written “Hugh Stollmeyer 'Sea Mystery' 1968,” the 68 is written over 58, It also has a sticker that gives his address as Shrub Oak. The first version was one of his submissions to a show at the Whitney (Februarry 1959)

Gouache on paper

4 5/8” x 5 5/8"

1958

Abstracted leather floral forms.

Gouache on grey paper

4.5” x 5.75"

1958

Abstracted leather floral form

Gouache on coloured paper

7” x 5“

1958

Gouache on coloured paper

6” x 4 7/8"

Probably 1958

He says of it "the oil I made of this is one of the best"

Gouache on coloured paper

5” x 6"

Probably 1958

Gouache on olive-brown paper

5” x 6”

Circa 1958

Gouache on paper

4 5/8” x 5 3/4"

Probably 1958

Gouache on grey paper

8 1/8” x 6 1/8"

1958

Gouache on olive-brown paper

5” x 6”

Circa 1958

Gouache on paper

6 1/4” x 7 3/4”

Circa 1958

There is an oil version.

Gouache on coloured paper

8” x 6"

Circa 1958

Oil on canvas

24” x 30”

Probably late 1950’s

Oil on canvas over masonite

25” x 36"

1959

Oil on canvas

32” x 20.5"

1959

Oil on canvas

17” x 28“

1959

Oil on canvas

25” x 36"

Fall 1959

Gouache on paper

10 1/4” x 7 1/2”

1959

Gouache on paper

10 1/4” x 7 1/2”

1959

Oil on canvas

23 3/4” x 14 3/4"

1959 or 1960

Oil on canvas

23” x 27"

1960

The painting references two or three paintings from the early 1950s

Oil on canvas

19.5” x 16"

1960

The painting Suspense painted in 1950 forms a significant part of this painting.

Gouache on paper

11” x 15”

This could be the late 1930’s judging from the signature or the early 1950’s or early 1960’s judged from the style.

Oil on canvas

23 3/4” x 14 3/4"

1959 or 1960

Oil on canvas

Dimensions unknown

Painted in January 1960 as a commission for Conrad Stollmeyer. There is another version, probably from the 1930’s.

Oil on canvas

22” x 26 1/2”

1959 or 1960

Oil on canvas

32” x 29"

1960

Oil on canvas

23" x 28"

1960

There is a work similar to this dated 1944, and another probably painted in the mid-1950’s.

Oil on canvas

25" x 35"

1960

It looks back to drawings of the late 1930’s

Gouache on paper

9” x 12”

1960

Gouache on paper

9.5" x 12"

1960

Leticia brought vegetables to Mon Valmont and she would sit in the kitchen ‘visiting’, which is probably were Hugh sketched her.

Gouache on paper

9” x 12"

1960

Oil on canvas

23 1/2” x 28“

1961

Mentioned in a letter to John Dec. 5, 1961, as one of two truly original works done since he returned to Trinidad in the spring.

Gouache on paper

8” x 10”

1961

Oil on canvas

23 1/2” x 28 1/4”

1961

There is also a gouache version

Gouache on canvas

9 1/2” x 12”

1960 - 61

Gouache on paper

10” x 12”

1961

There is an oil version from 1961

Oil on canvas

31" x 34"

1961

There is a gouache version

Oil on canvas

16" x 24"

1960-61

Mentioned in a letter to Daphne from late March 1961. There are also two gouache versions.

Gouache on paper

10” x 13 1/8"

1961

Oil on canvas

30” x 40”

1961

Gouache on paper

10 1/2” x 13"

1961

Gouache on paper

8 1/2” x 13” approximately

1961

Oil on canvas

36” x 32” approximately

1961

Oil on canvas

Dimensions unknown

1961

Shown in the Trinidad art society show of November 1961 and singled out for particular scorn by Derek Walcott.

Watercolour on card

5” square approximately

Xmas 1961 for John and Iona, this is one of a series of animals he did at this time (purple cow, yellow horses) which he refers to as children’s pictures. They eventually were incorporated in a design for wallpaper.

Gouache on paper

5 1/4” x 5”

1961

Oil on canvas

21” x 25”

Sketches done in November and December 1961

This oil was not shown in his one-man show opening on the 20th of January 1962 and was probably done shortly after the show opened.

Oil on canvas

Dimensions unknown

Late 1961 or early 1962

It was shown at Government House during independence celebrations.

Oil on canvas

Dimensions unknown

1962

Gouache on paper

10 1/2” x 13"

January 1962

One of two versions

Gouache on paper

9” x 11 1/2“

1962

Gouache on paper

9” x 11 1/2”

1962

Oil on canvas

30" x 36"

1962

Oil on canvas

18” x 24”

Signed Hu ’70 (it is not clear in the photo)

It could be one of his re-datings for his Duncan Gallery show. The photos would suggest the late 1950’s, but he also mentions masks in 1962 although he does not say when he painted them.

Oil on canvas

18 1/2” x 29”

1962

Gouache on paper

6 1/2" x 15"

1962

Gouache on paper

20" x 15"

Circa 1962

Gouache on paper

20" x 18 1/2"

1960-62

Gouache on paper

11" x 14"

1964

Oil on canvas

25 1/2” x 36"

1964

Hugh refers to this painting in a letter from mid to late June ’64 (he may be talking of the Gouache version at this point).

Oil on canvas

36" x 26"

1964

Oil on canvas

20" x 36"

1964

The centre horse is very similar to one painted in the late 1940’s. Mentions that he has a plan for the painting in a letter from August 19, 1964.

Oil on canvas

36" x 30"

1964

Oil on canvas

15" x 30"

1964

Wallpaper

Wilton Owen sold Hugh’s design to the NYC firm Scalamandre in 1964. It is unclear if it was designed at that time. It looks back to the botanical studies from 1959-62.

Wallpaper

Sold to Scalamandre by Wilton Owen in November of 1964, Hugh would have designed it after 1962 when he made small paintings of the animals included in the design.

Oil on canvas

36” x 26”

1965

He mentions that he has finished the painting in a letter to Daphne dated Jan 4, 1965. He was very likely referring to the gouache version as he said he immediately set out to enlarge it.

Gouache on paper

14 1/2" x 18"

1965

Oil on canvas

Dimensions unknown

1965

Oil on canvas

21” x 33”

1966

Oil on canvas

29" x 15"

1966

It may be based on photographs from Scientific American.

Gouache on paper

13” x 20”

1966